Supergirl: The Silver Age volume 1


By Otto Binder, Al Plastino, Jerry Seigel, Jim Mooney & various (DC Comics)
ISBN: 978-1-4012-7292-0 (TPB/Digital edition)

Superhero comics seldom do sweet or charming anymore. Narrative focus nowadays concentrates on turmoil, angst and spectacle and – although there’s nothing intrinsically wrong with that – sometimes the palate just craves a different flavour.

Such was not always the case as this superb compendium of the early career of Superman’s cousin Kara Zor-El of Argo City – gathering material from Action Comics #252-284 and spanning May 1959-January 1962 – joyously proves. Also included to kick off proceedings is the delightful DC House Ad advertising the imminent arrival of a new “Girl of Steel”. Sadly missing, however, is the try-out story ‘The Three Magic Wishes’ – written by Otto Binder and illustrated by Dick Sprang & Stan Kaye from Superman #123, August 1958 – which told how a mystic totem briefly conjured up a young girl with super powers as one of three wishes made by Jimmy Olsen. Such was the reaction to the plucky distaff hero that within a year a new version was introduced to the Superman Family…

Here, then, the drama commences with ‘The Supergirl from Krypton!’, the third story from Action Comics #252 introducing Superman’s cousin Kara, who had been born on a city-sized fragment of Krypton, which was somehow hurled intact into space when the planet exploded. Eventually Argo City turned to Kryptonite like the rest of the giant world’s debris, and Kara’s dying parents, having observed Earth through their scanners and scopes, sent their daughter to safety as they perished.

Crashing on Earth, she is met by Superman who creates the cover-identity of Linda Lee whilst hiding her in an orphanage in small town Midvale allowing her to learn about her new world and powers in secrecy and safety. This groundbreaking tale was also written by Binder and drawn by the hugely talented Al Plastino.

Once the formula was established Supergirl became a regular feature in Action Comics (starting with #253), a residency that lasted until 1969 when she graduated to the lead spot in Adventure Comics. In ‘The Secret of the Super-Orphan!’, at her new orphanage home she makes the acquaintance of fellow orphan Dick Wilson (eventually Malverne) who would become her personal gadfly (much as the early Lois Lane was to Superman), a recurring romantic entanglement who suspects she has a secret. As a young girl in far less egalitarian times, romance featured heavily in our neophyte star’s thoughts and she frequently met other potential boyfriends: including alien heroes and even a Merboy from Atlantis.

Many early tales involved keeping her presence concealed, even whilst performing super-feats. Jim Mooney became regular artist as Binder remained chief scripter for the early run. In Action #254’s ‘Supergirl’s Foster-Parents!’ sees an unscrupulous couple of con-artists easily foiled, after which Linda meets a mystery DC hero when ‘Supergirl Visits the 21st Century!’ in #255. Her secret is nearly exposed in ‘The Great Supergirl Mirage!’ before she grants ‘The Three Magic Wishes!’ to despondent youngsters and teaches a mean bully a much-needed lesson.

The Man of Steel often came off rather poorly when dealing with women in those far less enlightened days, always under the guise of “teaching a much-needed lesson” or “testing” someone. When she ignores his secrecy decree by playing with super dog Krypto, cousin Kal-El banishes the lonely young heroine to an asteroid in ‘Supergirl’s Farewell to Earth!’ but of course there’s paternalistic method in the madness…

‘The Cave-Girl of Steel!’ sees her voyage to Earth’s ancient past and become a legend of the Stone Age before AC #260 finds her transformed by the mystical Fountain of Youth into ‘The Girl Superbaby!’ The next tale introduced feline fan-favourite Streaky the Super-Cat in ‘Supergirl’s Super Pet!’ after which ‘Supergirl’s Greatest Victory!’ supplies a salutary lesson in humility to the Girl of Steel. Binder moved on after scripting ‘Supergirl’s Darkest Day!’ in which the Maid of Might rescues an alien prince before incoming Jerry Siegel began his own tenure by scripting ‘Supergirl Gets Adopted!’: a traumatic yet sentimental tale which ends with the lonely lass back at Midvale orphanage.

I’ve restrained myself so please do likewise when I say the next adventure isn’t what you think. ‘When Supergirl Revealed Herself!’ (Siegel & Mooney, Action #265) is another story about nearly finding a family, after which Streaky returns in ‘The World’s Mightiest Cat!’ as prelude to Supergirl finding fantastic fellow super-kids in Action #267’s ‘The Three Super-Heroes!’ She narrowly fails to qualify for the Legion of Super Heroes through the cruellest quirk of fortune, but – after picking herself up – exposes ‘The Mystery Supergirl!’ prior to Siegel & Mooney introducing fish-tailed Mer-boy Jerro as ‘Supergirl’s First Romance!’

Packed with cameos like Batman & Robin, Krypto and Atlantean Lori Lemaris, ‘Supergirl’s Busiest Day!’ sees her celebrating a very special occasion, after which Streaky enjoys another bombastic appearance as the wonder child builds ‘Supergirl’s Fortress of Solitude!’ before Binder wrote ‘The Second Supergirl!’ – an alternate world tale too big for one issue. Sequel ‘The Supergirl of Two Worlds!’ appeared in Action #273 – as did a novel piece of market research. ‘Pick a New Hairstyle for Linda (Supergirl) Lee!’ involved eager readers in the actual physical appearance of their heroine and provided editors valuable input into who was actually reading the series…

Siegel & Mooney soundly demonstrated DC dictum that “history cannot be changed” in ‘Supergirl’s Three Time Trips!’ before ‘Ma and Pa Kent Adopt Supergirl!’ offered a truly nightmarish scenario: rapidly followed by a return visit to the Legion of Super Heroes in ‘Supergirl’s Three Super Girl-Friends!’, whilst Action #277 featured an amazing animal epic in ‘The Battle of the Super-Pets!’

The next five tales form an extended saga, taking the Girl of Steel in totally new directions. On the eve of Superman announcing her existence to the world, Supergirl loses her powers and – resigned to a normal life – is adopted by the childless Fred and Edna Danvers. Sadly, it’s all a cruel and deadly plot by wicked Lesla-Lar, Kara’s identical double from the Bottle City of Kandor. This evil genius wants to replace Supergirl and conquer Earth…

This mini-epic – ‘The Unknown Supergirl!’, ‘Supergirl’s Secret Enemy!’, ‘Trapped in Kandor!’, ‘The Secret of the Time-Barrier!’ and (following the results of the Hair Style competition) ‘The Supergirl of Tomorrow!’ ran in Action #278-282: solidly repositioning the character for a more positive, effective and fully public role in the DC universe. The saga also hinted of a more dramatic, less paternalistic, parochial and even reduced-sexist future for the most powerful girl in the world, over the months to come; although the young hero is still very much a student-in-training, her existence still kept from the general public as she lives with adoptive parents who are completely unaware the orphan they have adopted is a Kryptonian super-being.

The accent on these stories generally revolves around problem-solving, identity-saving and loneliness, with both good taste and the Comics Code ensuring readers weren’t traumatised by unsavoury or excessively violent tales. Plots akin to situation comedies often pertained, as in ‘The Six Red “K” Perils of Supergirl!’ Peculiar transformations were a mainstay of Silver Age comics, and although a post-modern interpretation might discern some metaphor for puberty or girls “becoming” women, I rather suspect the true answer can be found in author Seigel’s love of comedy and an editorial belief that fighting was simply unladylike…

Red Kryptonite, a cosmically-altered isotope of the radioactive element left when Krypton exploded, caused temporary physical and sometimes mental mutations in the survivors of that doomed world. It was a godsend to writers in need of a challenging visual element when writing characters with the power to drop-kick planets. Here the wonder-stuff generates a circus of horrors, transforming Supergirl into a werewolf, shrinking her to microscopic size and making her fat. I’m not going to say a single bloody word…

The drama continues and concludes – like this initial Silver Age compilation – with ‘The Strange Bodies of Supergirl!’ wherein Linda Lee Danvers’ travails escalate after she grows a second head, gains death-ray vision (ostensibly!) and morphs into a mermaid. This daffy holdover to simpler times presaged a major change in the Girl of Steel’s status… but that’s a volume for another day.

Throughout her formative years Kara of Krypton underwent more changes than most of her confreres did in 20 years, as editors struggled to find a niche the buying public would appreciate, but for all that, these yarns remain exciting, ingenious and utterly bemusing.

Possibly the very last time a female super-character’s sexual allure wasn’t equated to sales potential and freely and gratuitously exploited, these tales are a link and window to a far less crass time, displaying one of the few truly strong and resilient female characters parents can still happily share with even their youngest children.
© 1959, 1960, 1961, 1962, 2017 DC Comics. All Rights Reserved.

The Art of Ramona Fradon


By Ramona Fradon; interviewed by Howard Chaykin (Dynamite Entertainment)
ISBN: 978-1-60690-140-3 (HB/Digital edition)

In a matter of mere weeks that have taken many accomplished, acclaimed and beloved comics luminaries (including Paul Neary, Enrique Badía Romero, José Delbo, Marti (Riera), John G. Miller and Keith Giffen) – we are particularly saddened to learn that pioneering cartoonist Ramona Fradon died on February 24th. At the age of 97 she had only just officially retired a month previously. Her incomparable works will keep her with us through characters and titles such as Super Friends, Aquaman and Metamorpho (slated to appear in the next Superman film). Until then, here’s another tome you should own…

Although present in comic books from the start, women – like so many other non-white/male “minorities” – have been largely written out of history. One of the very few to have weathered that inexplicable exclusion was Ramona Fradon. This excellent commemorative art collection celebrates not only her life and contribution, but thanks to its format – a free, unexpurgated extended interview with iconoclastic creator Howard Chaykin – shares the artist’s frank and forthright views on everything from work practise to the power of fans…

It begins with an Introduction from Walt Simonson who proclaims ‘Meet your Idol… and discover They’re even Cooler than you Thought!’, before early days are revealed in ‘Part One: Setting the Scene’ and ‘Part Two: In the Beginning’

Ramona Dom was born on October 2nd 1926 to an affluent Chicago family with many ties to commercial creative arts. Her father was a respected artisan, letterer and calligrapher who had designed the logos for Camel cigarettes, Elizabeth Arden and other major brands, and also formulated the fonts Dom Casual and Dom Bold. He had plans for his daughter, urging her to become a fashion designer…

The family moved to (outer) New York when Ramona was five. Ramona initially attended The Parsons School of Design, and discovered she had absolutely no interest in creating clothes. Although she’d never read comic books, she had voraciously read illustrated books like John Barton Gruelle’s Raggedy Anne and Andy series, and was a devoted fan of newspaper strips. Favourites included Dick Tracy, Bringing Up Father, The Phantom, Alley Oop, Flash Gordon, Terry and the Pirates and Li’l Abner (all herein represented by 1930s examples).

Ramona soon transferred to the New York Art Students League – a hotbed of cartooning – where she met and married Arthur Dana Fradon. He became a prolific illustrator, author and cartoonist and a regular contributor to The New Yorker between 1948-1992. They wed in 1948 and he actively encouraged her to seek work in the still young funnybook biz…

‘Part Three: Gingerly Breaking into Comics’ reveals how her first forays at Timely Comics led to DC/National Comics and a Shining Knight yarn published in Adventure Comics #165 (cover-dated June 1951), 10 months later taking over the veteran Aquaman feature in #167. Fradon was one of the first women to conspicuously and regularly illustrate comic books, drawing the strip throughout the 1950s and shepherding the Sea King from B-lister to solo star and Saturday morning TV pioneer.

In the first of a series of incisive, informative mini biographies, ‘Sidebar: Murray Boltinoff’ reveals the influence of that much-neglected and under-appreciated editor. ‘Part Four: Queen of the Seven Seas’ and ‘Part Five: Man of 1000 Elements’ show how occasional stints on The Brave and the Bold team-ups led to her co-creation of Sixties sensation Metamorpho, the Element Man. However in 1965 – at the pinnacle of success – she abruptly retired to raise a daughter, only returning to comics in 1972 for another stellar run of landmark work.

‘Sidebar: George Kashdan’ tells all about the multi-talented scripter before ‘Part Six: Ramona Returns to Comics… At Marvel???’ details how the House of Ideas lured the artist back to her board and highlights her difficulties working “Marvel-style” on assorted horror shorts, The Claws of the Cat and Fantastic Four, all presaging a return to DC…

‘Sidebar: Joseph Patterson’ looks into the astounding strip Svengali who green lit Dick Tracy, Little Orphan Annie, Gasoline Alley and more before ‘Part Seven: Back Home at DC Comics’ where she was busier than ever. As well as horror and humour shorts, Fradon drew a new Metamorpho try-out, superhero spinoff Freedom Fighters and her twin magnum opuses: revived comedy superhero Plastic Man and TV sensation Super Friends. These revelations are bolstered by ‘Sidebar: E. Nelson Bridwell’, exploring the life of the man who knew everything about everything…

In 1980, Fradon took over Dale Messick’s long-running newspaper strip Brenda Starr, drawing it for 15 years. ‘Part Eight: Leaping From Books to Strips’ explores that painful and unpleasant chore in sharp detail, supplemented by ‘Sidebar: Brenda Starr’ outlining the feature’s history and reprinting those episodes when the ageless reporter met a certain cop, allowing Fradon to finally draw childhood idol Dick Tracy

The most fascinating stuff is left until last as ‘Part Nine: Ramona the Author’ discusses her career post-Brenda: drawing for Bart Simpson and Spongebob Squarepants comics, returning to higher education and writing a philosophical historical mystery novel – The Gnostic Faustus: The Secret Teachings Behind the Classic Text – as well as illustrated kids book The Dinosaur That Got Tired of Being Extinct.

Packed throughout with candid photos, and stunning pencil sketches, painted pictures and privately commissioned works – like Aquaman, assorted Super Friends, Superman, Batman, Wonder Woman, Robin; Metal Men, Aqualad, Brenda Starr, Black Canary, Shazam/Captain Marvel, Shining Knight, The Atom, The Spirit, Metamorpho & cast, Marvel Girl, Miss America, Power Girl, Catwoman, Hawkman, numerous illustrations from The Story of Superman book plus convention sketches, this celebration concludes with even more fabulous sleek super art images in ‘Part Nine: Ramona Today’ and ‘Part Eleven: Bibliography’

This is an amazing confirmation of an incredible career and any fan’s dream package. Amongst gems unearthed here are complete Aquaman stories ‘The Kid from Atlantis!’ (Adventure Comics #269, 1960), ‘A World Without Water’ (Adventure#251, 1958) and ‘How Aquaman Got his Powers!’ (Adventure #260, 1959), plus tales from Star Spangled War Stories (#184, 1975) and ‘The Invisible Bank Robbers!’ (Gangbusters #30, 1952).

Also on show are unpublished sample strips by Dana & Ramona Fradon and a monumental cover gallery of unforgettable images from Super Friends #3, 5-8, 10, 11, 13, 17, 19, 21, 22, 24-27, 31, 33, 36-39 & 41; Plastic Man #16-20; The Brave and the Bold #55, 57, 58, Showcase #30 & 33, Metamorpho, the Element Man #1-5, Namora #1 (2010), Fantastic Four #133 and Freedom Fighters #3.

These are supported by selected interior pages in full colour or monochrome from Star Spangled War Stories #8; Adventure Comics #190; Metamorpho, the Element Man #1; 1st Issue Special #3; Fantastic Four #133; The Brave and the Bold #57; House of Secrets #116 & 136; Secrets of Haunted House #3 & 14; House of Mystery #232 & 273; Plop! #5; Freedom Fighters #3 & 5; Plastic Man #14; Super Friends #6-8, 10, 13, 16, 19, 21, 23 & 25 and the Super DC Calendar 1977.

A truly definitive appreciation of the Comic Book Hall of Fame inductee 2006, this oversized (229 x 305 mm) hardback reproduces hundreds of pages and covers, plus a wealth of out-industry artwork and commissioned wonders, as accompaniment to an astonishingly forthright testament and career retrospective of a phenomenal and groundbreaking talent.

The Art of Ramona Fradon will delight everyone by showing everybody how comics should be done….
Marvel Characters © and ™ 1941-2013 Marvel Characters, Inc. DC Comics Characters © and ™ DC Comics. Brenda Starr™ © 2013 Tribune Media Services. All Rights Reserved.

Steel: A Celebration of 30 Years


By Louise Simonson, Jon Bogdanove, Christopher Priest, Grant Morrison, Mark Schultz, Mateo Casali, Steve Lyons, Scholly Fisch, Matt Kindt, Chris Batista, Denys Cowan, Arnie Jorgensen, Doug Mahnke, Darryl Banks, Scott Cohn, Ed Benes, Rags Morales, Brad Walker, Patrick Zircher, June Brigman & various (DC Comics)
ISBN: 978-1-7795-2173-6 (HB/Digital edition)

All superhero sagas seek to forge fresh legends and mythologies for and around their protagonists and antagonists. A select few (like Thor, Wonder Woman, Hercules, Fables or Robin Hood) can shortcut the process by borrowing from already established communal story traditions. Steel always leaned into the latter: adapting and reiterating the folklore of actual historical personage John Henry: a 19th century African American Freedman known as the “steel-driving man” who worked building railroads and died proving human superiority and tenacity over technological innovation.

This epic compilation – part of a dedicated series reintroducing and exploiting the comics pedigree of DC icons – offers snapshots of a modern black Thomas Edison (or more accurately Tony Stark) who is equal parts impassioned justice seeker, dynamic defender and modern Hephaestus. Through groundbreaking appearances as part of the Superman Family, and standing on his own two jet-booted feet in the ever expanding DCU, it features material from Adventures of Superman #500, Superman: The Man of Steel #22, 100, 122, Steel (volume 1) #1, 34, JLA #17, Justice League Unlimited #35, Steel (volume 2) #1, Action Comics #4, Suicide Squad #24, and The Death of Superman 30th Anniversary Special #1, and like all these curated collections offers introductory essays preceding time-themed selections. We open with Part I: 1993-1998 – The Forging of a Hero by Steel co-creator Louise Simonson prior to her, Jon Bogdanove & Dennis Janke’s tantalising teaser ‘First Sighting’ as seen in Adventures of Superman #500. In the aftermath of catastrophe a new threat imperils the streets of Metropolis and a battered but mighty figure stirs from the rubble muttering “Doomsday”…

Steel’s story began with landmark publishing event The Death of Superman: a 3-pronged story-arc depicting the martyrdom, loss, replacement and resurrection of the World’s Greatest Superhero in a stellar saga which broke all records and proved that a jaded general public still cared about the venerable, veteran icon of Truth, Justice and the American Way. After a brutal rampage across Middle America, a mysterious marauding monster had only been stopped in the heart of Metropolis by an overwhelming and fatal effort on Superman’s part. Dying at the scene, the fallen hero’s body was subject of many legal battles before it was ostensibly laid to rest in a tomb in Metropolis’ Centennial Park. As Earth adjusted to a World Without a Superman, rumours began to circulate that, like Elvis, the Man of Tomorrow was not dead. The aforementioned ‘First Sightings’ revealed how across America four very different individuals appearing, saving lives and performing good deeds as only the departed defender could…

In Superman: The Man of Steel #22 (July 1993), Simonson, Bogdanove, Chris Batista & Rich Faber introduced construction worker Henry Johnson – who had been saved by Superman in the past – who felt compelled to carry on the hero’s mission. After witnessing first-hand street kids murdered by super weapons in the hands of “gangbangers” he built a high-tech suit of armour to facilitate his crusade as. Whilst outraged urban inventor attended disasters and began cleaning up the streets of Metropolis as ‘Steel’, he relentlessly searched for those who used deadly new “toastmasters”: a weapon Irons had designed in another life…

Tracking the munitions enabled him to save the life of a fortune-teller and brought him into savage conflict with White Rabbit – a new criminal major player in the city challenging the secret control of Lex Luthor – but his life only got more complicated the morning after, when Psychic Rosie went on TV claiming Steel was possessed by the unquiet soul of Superman…

To see how that  situation was resolved check out Reign of The Supermen collections but here – following the defeat of the Cyborg-Superman – our ironclad iconoclast underwent a partial refit in Steel (volume 1) #1, as writers Simonson & Bogdanove and artists Batista & Rich Fabee ‘Wrought Iron’ with Johnson resuming his previous identity as John Henry Irons and returning to his hometown and family in Washington D.C. ready to settle the problems he had originally fled from.

Welcomed back by niece Natasha, he and she are almost killed in another gang war and toastmaster crossfire, so John Henry begins a sustained and convoluted campaign against his former corporate employers Amertek, White Rabbit and the lying SOBs who allowed his junked superweapons program (AKA the BG60) to be sold to criminals. His first task is to upgrade and reforge his briefly retired armoured identity…

After an epic career as a reluctant superhero, John Henry and Natasha relocate to Jersey City as Christopher Priest, Denys Cowan & Tom Palmer reboot proceedings. In ‘Bang’ he reinvents himself as a maker of medical hardware and prosthetics working for a barely disguised supervillain. With all concerned leaning heavily into the perceived notion of Steel as a second-rate substitute, Priest consequently crafted one of the funniest and most thrilling superhero series of the decade and one long overdue to be featured in its own collection.

Steel was becoming increasingly popular and was rewarded with membership in the new sensation-series – the reconstituted Justice League. Here in his April 1998 induction from JLA #17, Grant Morrison, Arnie Jorgensen, David Meikis & Marl Pennington show ‘Prometheus Unbound’ as the ambitious neophyte supervillain attacks the entire League in their moon base Watchtower. As recent recruits Huntress, Plastic Man, fallen angel Zauriel and covert information resource Oracle join the regular team invite the world’s press to their lunar base, this unwise courtesy inadvertently allows the insidious seemingly unstoppable mastermind to infiltrate and almost destroy them.

The heroes – despite initially succumbing to Prometheus’ blitz-attack – strike back, aided by unlikely surprise guest-star Catwoman and the last-minute appearance of New Gods Orion and Big Barda proffering yet more hints of the greater threat to come. Although playing a significant part in the win, Steel is not really a star here but at least proves he can play well with the big dogs…

Priest then provides fascinating insight to his take on Dr. Irons and his tenure’s overt concentration of racism and comedy in an essay segueing neatly into Part II: 2000-2011 – Forging the Future prior to adventures in a new millennium.

In Superman: The Man of Steel #100 (May 2000), Mark Schultz, Doug Mahnke & Tom Nguyen offer a ‘Creation Story’ as John Henry and Natasha set up shop in Metropolis with their (she’s a SuperGenius too and ultimately also became an mecha-outfitted superhero) “Steelworks” facility, helping Superman reconstruct his Fortress of Solitude from recovered Kryptonian and Phantom Zone raw materials. The artificers are unaware that an old enemy is sending new menace Luna and her Cybermoths to plunder their achievements…

Despite their always being the best of friends, Superman: The Man of Steel #122 (March 2002) notionally succumbs to the inevitable in Superman v Steel’ by Schultz, Darryl Banks & Kevin Conrad as Irons battles crippling anxieties after accepting a potential trojan horse weapon – the Entropy Aegis – from Darkseid and using it as the basis of new armour. With monsters trying to reclaim it and Superman begging him not to use it, frayed tempers snap…

As well as an ill-received – and unjustly derided – cinema iteration (really! – check it out with more forgiving modern eyes), Steel made the jump to television numerous times. The best was his tenure in the Cartoon Network Justice League/Justice League Unlimited animated shows and the comic books they spawned. Next up here is Mateo Casali, Scott Cohn & Al Nickerson’s all-ages romp ‘The Cycle’ (Justice League Unlimited #35, September 2007), with John Henry and Natasha in the Watchtower before leading the team against reawakened elder gods The Millennium Giants

Having grown overlarge and unwieldy once more, DC took a draconian leap as its continuity was again pruned and repatterned. In October 2011, publishing event Flashpoint led to a “New 52”: radical yet mostly cosmetic changes that barely affected the properties reimagined. Just before that kicked off, John Henry got a stirring “hail and farewell” in Steel (volume 2, 2011) #1. ‘Reign of Doomsday, Part 1: Full Circle’ by Steve (Doctor Who) Lyons & Ed Benes opened a Superman Family mass-crossover as the marauding monster returned to crush all S-Sheild superstars, starting with John Henry before moving on to The Outsiders and others…

Concluding chapter Part III: 2012-Present – The First Black Superman opens with a treatise and career appraisal of “DC’s Iron Man” by Bogdanove, after which the techno-warrior is reimagined by Morrison, Rags Morales, Rick Bryant & Sean Parsons in Action Comics (volume 2) #4, January 2012. ‘Superman and the Men of Steel’ sees a young Man of Tomorrow starting out as a vigilante, pursued by Military Consultant Lex Luthor and losing to the latter’s Kryptonite fuelled cyborg Metallo until a technologist working on the Steel Soldier program dons the armour he’s building to save the embattled young hero…

From the same issue, ‘Hearts of Steel’ – by Scholly Fisch, Brad Walker & Jay David Ramos – concludes the 3-way war and provides insight into the valiant newcomer, before Suicide Squad #24 (volume 4, December 2013) taps into publishing event Forever Evil with ‘Excuse the Mess…’ by Matt Kindt, Patrick Zircher & Jason Keith. As Earth is infiltrated by invaders from an alternate reality, conscripts of Amanda Waller’s penal unit (Thinker, King Shark, Captain Boomerang, Deadshot and Harley Quinn) rebel when the world’s supervillain community unites to crush the heroes. Opposing the rebellion and fighting to keep a living WMD from them are an Unknown Soldier, vigilante Warrant, Power Girl and Steel

In 2015, as the New 52 experiment staggered to a conclusion, a series of company-wide events offered speculative glimpses at what might have been. Following 2014’s Futures End came Convergence in April 2015: a series of character-derived micro-series referencing key periods in the amalgamated history of DC heroes. Crafted by Simonson, June Brigman, Roy Richardson & John Rauch, Convergence: Superman: Man of Steel #1-2 depicted ‘Divided We Fall’ & ‘United We Stand’ as assorted cities from varied publishing epochs of continuity are imprisoned under domes by Telos, slave of Brainiac and ordered to fight each other until only one survives. Referencing their 1990s iteration, Irons, Natasha and nephew Jemahl armour up beside maniacal villain The Parasite to battle the abrasive superteens of Gen 13

We end by turning full circle as Louise Simonson, Jon Bogdanove & colourist Glenn Whitmore share undisclosed secrets from the first appearance of Steel, as finally revealed in The Death of Superman 30th Anniversary Special #1 (November 2022).‘Time’ expands on ‘First Sightings’, taking readers back to the moments Doomsday ripped through Metropolis and showing how “Henry Johnson” saved lives as he ran towards the life or death battle to aid Superman however he can…

With covers by Bogdanove & Janke, Dave Johnson, Howard Porter & John Dell, Doug Mahnke & Tom Nguyen, John Cassaday & Richard Horie, Zach Howard, Alex Garner, Morales & Brad Anderson, Steve Skroce & Jason Keith, Walter Simonson & Dave McCaig, these tales span cover-dates January 1993 to November 2022; a period where black heroes finally became acceptable comics currency – at least for most people – and this too brief collation of groundbreaking yarns only begs the question: why isn’t more of this wonderful stuff already available?
© 1993, 1994, 1997, 1998, 2000, 2002, 2007, 2011, 2012, 2013, 2015, 2022, 2023 DC Comics. All Rights Reserved.

Crisis Aftermath: The Spectre & The Spectre: Tales of The Unexpected


By Will Pfeifer & Cliff Chiang, David Lapham, Eric Battle, Prentis Rollins, Tom Mandrake & various (DC Comics)
ISBN: 978-1-84576-577-X (TPB Aftermath): 978-1-84576-668-9 (TPB Unexpected)

The Spectre first appeared in More Fun Comics #52 (cover-dated February 1940), brainchild of Superman co-creator Jerry Siegel and artist Bernard (Hourman) Baily. Jim Corrigan, a murdered police detective, was ordained an open-ended mission by a glowing light and disembodied voice to fight crime and evil: swiftly becoming one of the most overwhelmingly powerful heroes of the Golden Age.

The astral avenger has been revamped and revived many times since. Latterly and powerfully (by John Ostrander &Tom Mandrake) revealed to be God’s Spirit of Vengeance bonded to a human conscience, Corrigan was finally laid to rest and Hal Jordan replaced him. Jordan was a Green Lantern who nearly destroyed the universe when possessed by antediluvian fear-parasite Parallax, before redeeming his soul and sacrificing his life to reignite our dying sun in the Final Night miniseries.

Bonded and bound to The Spectre force, Jordan became more a Spirit of Redemption than Retribution and, following a complex series of events in the wake of the Infinite Crisis was resurrected as a mortal superhero – leaving The Spectre without human guidance or scruple…

Collecting 3-part miniseries Crisis Aftermath: The Spectre and the lead stories from Tales of the Unexpected #1-3, this book follows the Ghostly Guardian’s search for a new host. This it finds in the reluctant, intangible form of by-the-book cop Crispus Allen, a black detective in Gotham City’s police force, and a just man callously murdered by fellow officer/ dirty cop Jim Corrigan (no relation to the original).

Will Pfeifer (Batman, Catwoman, Blood of the Demon) & Cliff Chiang (Human Target, Paper Girls, Wonder Woman) open the account in ‘Dead Again’ as The Spectre tries to convince what remains of angry atheist Allen to bond with him and jointly dispense Heavenly Justice. It then must prove the validity of the admittedly random and illogical way the Spirit of Retribution selects targets/victims from the billions of murderous sinners in sore need of the grim phantom’s personal, bloodily ironic attentions.

Subtle, compelling and challenging, the inescapable tragedy of the ending lends desperately needed depth to a timeless character far too powerful for traditional tale-telling. It is followed by the first quarter of an 8-part epic by David Lapham, Eric Battle &Prentis Rollins that featured in DC’s revival of the classic anthology title Tales of the Unexpected.

Slum-lord Leonard Krieger has been murdered in one of his own rat-traps. He was found chained and tortured (for two weeks) in the foul basement of a tenement filled with desperate people and outcasts on the edge of society. When he was very nearly dead Krieger was then stabbed repeatedly. There’s certainly no shortage of suspects…

Crispus Allen may be dead but he’s a still a detective and knows there’s a terrible secret buried in the wasteland of the Granville Towers. So do investigating officers Marcus Driver and Josh Azeveda. When The Spectre identifies and dispatches the killer it seems the case is over, but all the dark mysteries of the tenement are not yet revealed and all the horrors within keep calling out to both the harassed unsettled cops and Allen as well…

David Lapham (Shadowman, Stray Bullets, Silverfish) took The Spectre into uncharted waters with this raw and savage portmanteau saga. Rather than one baroque crime and one appropriately grisly punishment, he examines the nature of evil by focusing on all inhabitants of the slum and their degree of culpability in this murder as well as other sins. Can every door hide a secret worthy of God’s Punishment? Moreover, does Crispus have the power – and inclination – to temper the Spectre’s awful judgements?

‘The Cold Hand of Vengeance’ is engrossing and challenging stuff, well worth your attention, but to truncate the saga this way (the remaining issues 4-8 are collected in sequel volume The Spectre: Tales of the Unexpected) is annoying and unnecessary. Even with a gallery of alternate covers by luminaries like Neal Adams & Moose Bauman, Michael Wm. Kaluta & David Baron, Michael Mignola, Matt Wagner & Dave Stewart, this brilliant tale screams “unfinished business”…

 

Spectre: Tales of the Unexpected

Completing the intense horror-suspense begun in Crisis Aftermath: The Spectre murdered detective Crispus Allen returns, newly-bonded to an all-powerful supernatural force and finds himself irresistibly drawn back to the tenement house where slum-lord Leonard Krieger was killed.

Eventually killed. Prior to that he was chained in the basement for weeks, starved, tortured, abused and generally made to regret the miseries he had inflicted on his many tenants. One man has already paid the Ghostly Guardian’s ghastly price for that, but somehow the sin remains unpunished and Allen, as well as GCPD grunts Marcus Driver and Josh Azeveda, are convinced there’s more to know and further horror to come from God’s Spirit of Vengeance.

Already the ameliorating human influence is being challenged and has little effect when the Spectre – unable to leave Gotham – goes on a rampage of grotesque and barbaric retribution in the murder capital of the world. As the police chip away at the mystery of Krieger’s death and the wall of silence from the other tenants of seemingly accursed Granville Towers, Crispus becomes ever more inured to the atrocities humanity perpetrates on a daily basis. Without intervention, he may become more ruthless and relentless than The Spectre itself.

With outstanding guest-appearances by Batman and The Phantom Stranger (the latter illustrated by veteran Spectre illustrator Tom Mandrake) this volume reprints #4-8 of the lead strip in anthological revival Tales of the Unexpected, including original covers by Bernie Wrightson, Mike Huddleston, Bill Sienkiewicz, Art Adams, Prentis Rollins, Eric Battle & Dave Stewart.

A harsh, uncompromising exploration of justice, provocation and guilt, this is not a story for the young or squeamish and the mystery, engrossing though it be, is secondary to the exploration of the events that produced it. Can the modern world still use an Old-Testament solution to sin, or is every crime now too complex for prescribed punishments?

It’s rare for superhero comics to be this challenging but Tales of the Unexpected manages that and still delivers a visceral, evocative thriller that is a joy to read. These are lost gems crying out for a fresh chance to shine in the darkness… and at 128 pages for the first one and 144 for the follow-up, would it be so hard to make them one volume?
© 2006, 2007 DC Comics. All Rights Reserved.

Showcase Presents the Legion of Super-Heroes volume 5


By Cary Bates, Jim Shooter, Paul Levitz, Dave Cockrum, Mike Grell, Bill Draut, Bob Wiacek, Ric Estrada & Joe Staton & various (DC Comics)
ISBN: 978-1-4012-4297-8 9 (TPB)

Once upon a time, a thousand years from now, super-powered kids from many worlds took inspiration from the greatest legend of all time and formed a club of heroes. One day those Children of Tomorrow came back in time and invited their inspiration to join them…

Thus began the vast and epic saga of the Legion of Super-Heroes, as first envisioned by writer Otto Binder & artist Al Plastino when the many-handed mob of juvenile universe-savers debuted in Adventure Comics #247 (April 1958), just as the revived superhero genre was gathering an inexorable head of steam in America. Since that time the fortunes and popularity of the Legion have perpetually waxed and waned, with their future history tweaked and overwritten, retconned and rebooted over and over again to comply with editorial diktat and popular fashion.

This sturdy, cosmically-captivating fifth massive monochrome compendium gathers the chronological parade of futuristic delights from Superboy #193, 195, and Superboy Starring the Legion of Super-Heroes #197-220, covering February 1973 to October 1976, as well as the debut issue of opportunistic spin-off Karate Kid #1 (March 1976) at a time when the superhero genre had again waned but which was slowly recovering to gain its current, seemingly unassailable ascendancy. That plunge in costumed character popularity had seen the team lose their long-held lead spot in Adventure Comics, be relegated to a back-up in Action Comics and even vanish completely for a time. Legion fans, however, are the most passionate of an already fanatical breed…

No sooner had the LSH faded than agitation to revive them began. Following a few tentative forays as an alternating back-up feature in Superboy, the game-changing and sleekly futuristic artwork of newcomer Dave Cockrum inspired a fresh influx of fans and the back-up soon took over the book – exactly as they had done in the 1960s when the Tomorrow Teens took Adventure from The Boy of Steel and made it uniquely their own…

The resurgent dramas begin here with the back-up by Cary Bates & Cockrum from Superboy #193 wherein a select team consisting of Chameleon Boy, Duo Damsel, Chemical King and Karate Kid went undercover on a distant world to prevent atomic Armageddon in ‘War Between the Nights and the Days!’ That’s followed by #195’s ‘The One-Shot Hero!’ which told the story of ERG-1 – a human converted to sentient energy in an antimatter accident. The character had been mentioned in a 1960’s tale of the Adult Legion but here Bates & Cockrum at last fleshed out his only mission and heroic sacrifice with passion and overwhelming style.

The really big change came with the July issue as the long-lived title (which had premiered in 1949 just as the Golden Age was ending) morphed into Superboy Starring the Legion of Super-Heroes with #197.

The relaunch kicked off with a full-length extravaganza. ‘Timber Wolf: Dead Hero, Live Executioner!’ saw the Boy of Steel summoned to the future to be greeted by a hero he believed had died in the line of duty. Somehow Timber Wolf had survived and triumphantly greets his old comrade, but astute Legion leader Mon-El fears some kind of trick in play. He is proved right when the miraculous survivor goes berserk at an awards ceremony, attempting to assassinate the President of Earth.

Wolf is restrained before any harm can be done and a thorough deprogramming soon gives him a clean bill of mental health. Unfortunately that’s exactly what the team’s hidden enemy had planned and when a deeper layer of brainwashing kicks in the helpless mind-slave turns off the security systems allowing militaristic alien warlord Tyr to invade Legion HQ. Happily telepathic Saturn Girl is on hand to free the mental vassal and scupper the assault, but in the scuffle Tyr’s computerised gun hand escapes, swearing vengeance…

The organisation’s greatest foes resurface with a seemingly infallible plan in #198’s ‘The Fatal Five Who Twisted Time!’ – travelling back to 1950s Smallville to plant a device to edit the next thousand years and prevent the Legion ever forming. Second chapter ‘Prisoners of the Time Lock’ reveals how a squad comprising Brainiac 5, Element Lad, Chameleon Boy, Karate Kid, Princess Projectra and Mon-El has already slipped into the relative safety of the time stream, resolved to restore history or die with a resultant clash concluding in ‘Countdown to Catastrophe’

With an entire issue to play with but short stories still popular with readers, the format settled on alternating epics with a double-dose of vignettes. Thus issue #199 opened with ‘The Gun That Mastered Men!’ as Tyr’s computerised wonder weapon sought to liberate its creator, only to rebel at the last moment and try to take over Superboy instead. With that threat comprehensively crushed, Bouncing Boy took centre stage to relate his solo battle against Orion the Hunter in ‘The Impossible Target’ It was mere prelude to anniversary issue #200 wherein he lost his power to hyper-inflate and had to resign. However, it did allow the Bounding Bravo to propose to girlfriend Duo Damsel, unaware that she had been targeted to become ‘The Legionnaire Bride of Starfinger’. The marriage was an event tinged with grandeur and tragedy as the supervillain kidnapped her in ‘This Wife is Condemned’, attempting to emulate her powers and make an army of doppelgangers, but ‘The Secret of the Starfinger Split!’ was never revealed after Superboy enacted a cunning counter-ploy…

SsLSH #201 featured the resurrection of ERG-1 as the energy-being reconstituted himself to save the team from treachery in ‘The Betrayer From Beyond’ whilst ‘The Silent Death’ saw precognitive Dream Girl infallibly predict a comrade’s imminent demise – even though no hero anywhere appeared to be endangered. The next issue was a 100-Page Giant but only two tales were new. They were also Cockrum’s final forays in the 30th century and saw the debut of his equally impressive successor Mike Grell as inker on ‘Lost a Million Miles from Home!’ Here Colossal Boy and Shrinking Violet face a perplexing mystery in deep space: an inexplicable loss of ship’s power which compels them to abandon ship in the worst possible place imaginable. ‘Wrath of the Devil-Fish’ by Bates & Cockrum was the artist’s swan song, featuring the debut of the re-designated ERG-1 as Wildfire as an eerie amphibian creature attacked a pollution-cleansing automated Sea-Station. Of course the monster was not what he seemed and the Legion hoped they might have found a unique new recruit…

Having utterly transformed the look, feel and fortunes of the Legion, Cockrum moved to Marvel where he would perform the same service for another defunct and almost forgotten series called the X-Men

With Grell now handling full art, the youthful Club of Champions were still on the meteoric rise, depicted as a dedicated, driven, combat force in constant, cosmos-threatening peril. However the super-science stalwarts still struggled against a real-world resurgence in spiritual soul-searching and supernatural dramas, with most of the comics industry churning out a myriad of monster and magic tales. The dominant genre even invaded the bastions of graphic futurism in #203’s ‘Massacre by Remote Control’ (Bates & Grell) when increasing indifference and neglect caused veteran legionnaire Invisible Kid to sacrifice his life to save his comrades. Sadness was tinged with arcane joy, however, as this was a twist on gothic ghost stories with the fallen hero united with a lover from the far side of the Veil of Tears…

It was back to sensibly rationalist ground for SsLSH #204 and ‘The Legionnaire Nobody Remembered’, wherein the heroes explored secrets of time traveller Anti-Lad. His accidental meddling altered history, demanding a hands-on response to fix everything, after which Bates & Grell exposed ‘Brainiac 5’s Secret Weakness!’ by reigniting his millennium-spanning romance with Supergirl. Issue #205 was another primarily-reprint 100-Page Giant which included one novel-length saga as 20th century Lana Lang saves the heroes from becoming ‘The Legion of Super-Executioners’, after the entire roster is overwhelmed by a psionic immortal patiently planning to abduct them all and breed a super-army of conquest…

‘The Legionnaires who Haunted Superboy’ led in #206 with Superboy visited by dead friends Invisible Kid and Ferro Lad. This time, the underlying theme was nascent cloning science not eldritch unrest and the outcome was mostly upbeat, after which ‘Welcome Home Daughter… Now Die!’ highlights Princess Projectra’s dilemma as both Royal champion with a commoner boyfriend and untouchable sacrosanct heir to a feudal kingdom after a dutiful family visit results in an attack by a marauding monster…

SsLSH #207 led with ‘The Rookie who Betrayed the Legion!’ as Science Police liaison Dvron seemingly colludes with mesmeric villain Universo, whilst ‘Lightning Lad’s Day of Dread!’ sees the founding hero join his wicked brother Mekt to share a moment of personal grief. It’s just a prelude to the next issue (another 100-Pager) where a 2-pronged scheme maroons Mon-El and Superboy in the 1950s whilst their comrades suffer the ‘Vengeance of the Super-Villains’ in the 30th Century. However, the cunning murder-plot of Lightning Lord’s Legion of Super-Villains is not enough to fool Brainiac 5 or wily LSH espionage chief Chameleon Boy…

In the 1960s the main architect of the Legion’s shift from quasi-comedic adventurers to gritty super-battalion was teen sensation Jim Shooter, whose scripts and layouts (generally finished and pencilled by the astoundingly talented Curt Swan) made the series irresistible to a generation of fans growing up with their heads in the Future and tension-drenched drama on their minds. Now, after time away getting a college education and working in advertising, Shooter returned in Superboy Starring the Legion of Super-Heroes #209 as ‘Who Can Save the Princess?’ tersely details how Projectra succumbs to the lethal “Pain Plague” leading her lover Karate Kid to make an ultimate sacrifice. Bates & Grell wrap up the issue with heartwarming mystery as young fan Flynt Brojj becomes a ‘Hero for a Day’; saving the Legion from an insidious assassination attempt…

SsLSH #210 was an all Shooter/Grell affair, opening with darker fare as ‘Soljer’s Private War’ reveals how a tragic victim of World War VI was transformed by horrific circumstances and resurrected to rampage unstoppably through 30th century Metropolis after which ‘The Lair of the Black Dragon’ at last unearths the incredible origin of Karate Kid. When a pack of martial artists ambush him, their defeat leads to a further attack on the aged Sensei who trained Val Armorr from infancy, and painful revelations that the Legionnaire’s birth-father was Japan’s greatest villain…

‘The Ultimate Revenge’ (scripted by Shooter in #211) sees Element Lad risk career and honour to exact vengeance on space pirate Roxxas who exterminated the hero’s entire race, whilst Bates detailed how the Legion of Substitute Heroes takes over ‘The Legion’s Lost Home’, incidentally solving one of the most infamous cold cases in the history of theft…

Shooter was now main writer and SsLSH #212 began with ‘Last Fight for a Legionnaire’ wherein a sextet of ambitious, disgruntled teens challenge Matter-Eater Lad, Saturn Girl, Cosmic Boy, Phantom Girl, Shrinking Violet and Chameleon Boy for their positions on the team – resulting in the replacement of one of veteran heroes – whilst ‘A Death Stroke at Dawn’ finds apparently ineffectual Substitute Legionnaire Night Girl regaining confidence by triumphantly saving boyfriend Cosmic Boy and herself from murderous ambushers…

In #213 Ultra Boy only realises he has a crippling psychological handicap when the hunt for infallible super-thief Benn Pares takes the team into ‘The Jaws of Fear’, after which Timber Wolf overcomes a far more physical threat with his rarely exercised wits when attacked by mega-thug Black Mace in ‘Trapped to Live – Free to Die!’ (art by Grell and inker Bill Draut).

The heroes find ‘No Price Too High’ (#214) to save a trillionaire’s obnoxious son from himself and a deranged, disaffected employee who had taken over one of his dad’s automated manufacturing worlds before Bates, Grell & Draut reveal deep-seated trauma cancelling out Shrinking Violet’s powers in ‘Stay Small – Or Die!’ Luckily for Brainiac 5, his drastic plan to shock her back to normal works in time for her to save him from the fallout of his callous actions…

Bates & Grell also observed ‘The Final Eclipse of Sun Boy’ in SsLSH #215, as an intangible assassin trails Phantom Girl to Earth and is in turn followed by an unlikely and unsuspected ally, before Shooter, Grell & Draut reveal Cosmic Boy as ‘The Hero Who Wouldn’t Fight’: honouring a sacred day of penance and superpower abstinence … even at the cost of his life.

Despite the comics world being in the grip of martial arts madness since 1973, DC were slow in making an obvious move and giving one of the oldest comic book Kung Fu fighters his own title. Karate Kid #1 (by Paul Levitz, Ric Estrada & Joe Staton) launched with a March-April 1976 cover-date, plunging valiant Val Armorr back a thousand years to contemporary New York City in ‘My World Begins in Yesterday’. The self-made warrior crashed the time barrier to recapture arch enemy Nemesis Kid, and, after rejecting friendly advice and stern orders to return to Tomorrow, tracked and trashed his enemy with the astounded assistance of schoolteacher Iris Jacobs.

Finding the primitive milieu far more amenable than his origin era, Karate Kid unexpectedly then elected to stick around in the 20th century. That same month SsLSH #216 saw Bates & Grell tackle a thorny issue in ‘The Hero who Hated the Legion’ as the team tries to recruit its first black member. Isolationist Tyroc and his entire long-sequestered race nursed a big (and perfectly understandable) grudge against modern Earth and it took determined diplomacy and a crisis threatening their entire island homeland of Marzal to confront and challenge the prejudice of centuries…

Back then, the simple fact that an African-American hero was considered sales-worthy was the biggest leap imaginable. Excluding jungle comics of the 1940s & 1950s, War comics first opened the door to black characters in the early 1960s, when Robert Kanigher & Joe Kubert created negro boxer Jackie Johnson for Sgt. Rock’s Easy Company (Our Army at War #113, cover-dated December 1961) and Marvel followed suit with a black soldier in Sgt. Fury’s Howling Commandos (Gabe Jones, debuting in #1, May 1963).

After Dell’s western gunfighter Lobo (#1-2, December 1965 & September 1966) the House of Ideas pulled far ahead in the diversity stakes by introducing America’s first negro superheroes. The Black Panther premiered in Fantastic Four #52, (July 1966) and The Falcon first fought in Captain America #117 (September 1969). Luke Cage didn’t become became the Hero for Hire until the spring of 1972, (#1, June cover-date), by which time DC had introduced August Durant/Mockingbird in Secret Six #1 (1968) and Mal Duncan in Teen Titans #26 (1970). Jack Kirby introduced Flipper-Dipper in Superman’s Pal Jimmy Olsen #133 (October 1970), New God Vykin the Black in Forever People #1 (March 1971) and many more super-characters of colour for his Fourth World Saga. He later created enterprising “ghetto kid” Shilo Norman as a hero’s apprentice and eventual successor in Mister Miracle ##15 (August, 1973): the same year Bates & Don Heck launched Nubia in Wonder Woman #206.

With more ethnic lead characters appearing, DC finally launched a black-skinned hero – John Stewart (Green Lantern #87, December 1971/January 1972) – although his designation as a “replacement” GL could be construed as more conciliatory and insulting than revolutionary. Black Lightning – DC’s first superhero in his own solo title – didn’t debut until 1977, but before that and all but forgotten now, the Legion had entered the Race race in their future chronicles…

Bates & Grell then took a peek into ‘The Private Lives of Bouncing Boy and Duo Damsel’, revealing how even retired Legionnaires still have to fight on occasion. Shooter & Grell monopolised issue #217, beginning with ‘The Charge of the Doomed Legionnaires’ wherein rapacious Khund warlord Field Marshal Lorca pits his strategic genius against Brainiac 5 but underestimates the sheer guts of his foes, whilst ‘Future Shock for Superboy’ sees the Teen of Steel beguiled by 30th century girl Laurel Kent, blithely unaware he is expressing possibly amorous interest in his own distant descendant…

Courtesy of Bates & Grell, Superboy starring the Legion of Super-Heroes #218 reveals how Tyroc’s induction into the team is shanghaied by ‘The Secret Villain the World Never Knew’ although the neophyte soon turns the tables on the interloper Zoraz, after which Shooter (with story inspiration from Ken Klaczac) discloses ‘The Plunder Ploy of the Fatal Five’ in #219 as the terrifying Fatal Five go on an implausible but ruthless spree of cosmic crimes. The Galaxy’s Most Wanted are seemingly gathering items which can only be used for the creation of an all-conquering army, but when the Legion capably counterattack, they realise they have jumped to a woefully wrong conclusion…

The comprehensive cavalcade of chronal capers concludes with #220 as inker Bob Wiacek joins Shooter & Grell for one final brace of bombastic blockbusters beginning with ‘The Super Soldiers of the Slave-Maker’. As the Legion attempts to liberate conquered planet Murgador, resistance comes from the terrified inhabitants, and the astounded saviours learn that a huge bomb at the world’s core makes them all helpless hostages to their alien overlord. The only answer is an application of subterfuge and misdirection to rectify the impossible situation before everything wraps up with ‘Dream Girl’s Living Nightmare’ as Chameleon Boy tries to cheat fate and save a cosmic benefactor from death despite infallible predictions from his precognitive comrade…

The Legion of Super-Heroes is one of the most beloved but bewildering creations in funnybook history: primarily responsible for the rapid growth of a groundswell movement that became American Comics Fandom. Moreover, these scintillating, seductively addictive stories – as much as Julie Schwartz’s Justice League or Marvel’s Fantastic Four – fuelled the interest and imaginations of generations and created the industry we know today. If you love comics and haven’t read this stuff yet, you are the poorer for it and need to feed your future dreams as soon as possible.
© 1973-1976, 2014 DC Comics. All Rights Reserved.

Batman: Turning Points


By Greg Rucka, Ed Brubaker, Chuck Dixon, Steve Lieber, Joe Giella, Dick Giordano, Bob Smith, Brent Anderson, Paul Pope, Claude St. Aubin & various (DC Comics)
ISBN: 978-1-4012-1360-2 (TPB)

When Superman debuted in Action Comics #1, the only still-the-same-today supporting character was Lois Lane. When “The Bat-Man” premiered a year later in Detective Comics #27 (cover-date May 1939 but on sale from March 30th), the only other person you might recognise was Police Commissioner Gordon. Make of this what you will…

Over the 85 years of Batman’s existence, almost as important as the partnership between the Dark Knight and assorted Boy Wonders has been a bizarrely offbeat symbiotic relationship between those costumed vigilantes and Gotham City’s top cop James Gordon.

This collection – inexplicably one of very few Batman books unavailable in digital formats – compiles five individual pastiches released as 2001 miniseries Turning Points. Here, readers see significant moments in the development of that shadowy alliance produced primarily for long-term aficionados in tribute to key eras in Batman’s career by veteran artists and (then) new wave creators.

It all begins with Greg Rucka & Steve Lieber’s ‘Uneasy Allies’, set in the days – and visual style – of the mysterious vigilante’s stormy debut in Frank Miller & Dave Mazzuchelli’s exemplary Batman: Year One. Police Captain Gordon is still the only honest cop on a corrupt and brutally gung-ho force, reeling from the shock of his wife divorcing him. When bereaved, heartsick and crazed college professor Hale Corbett takes an entire wedding hostage, Gotham’s SWAT team commander is champing at the bit to storm in and rack up the body-count, whereas wanted felon The Batman offers Gordon a slim hope of ending the siege without loss of life.

All the masked nut-case wants in return is a sympathetic ear at the GCPD…

A clandestine working relationship established, …And Then There Were… Three?’ (by Ed Brubaker & Joe Giella – who drew many of 1960s stories and Batman’s newspaper strip) celebrate the era of TV’s “Batmania”. About a year after their first meeting, reports of a garishly garbed boy assistant to Batman begin filtering in. As deadly psychopath Mr. Freeze rampages through the city, Gordon demands to why the now-tolerated Caped Crusader is recklessly endangering a child.

In a rowdy romp packed with past icons like giant props and gaudy villains, a decidedly deadly outcome forces the cop to see and realise the true nature of Batman and Robin’s relationship…

Brubaker, Dick Giordano & Bob Smith set ‘Casualties of War’ in the bleak aftermath following the death of second Robin Jason Todd, the crippling of Barbara (Batgirl) Gordon and the torture of her father, at the bone-white hands of The Joker. A solitary, driven Dark Knight haunts streets and allies, ceaselessly crushing criminals with brutal callousness, whilst sinister serial killer The Garbage Man prowls unchallenged…

When wheelchair-bound Barbara fails in her attempted intervention to calm a Batman pushing himself to breaking-point, it takes a rooftop heart-to-heart with recently promoted Commissioner Gordon to finally crack the manhunter’s shell and begin the healing process…

Chuck Dixon & Brent Anderson step in years later when, as a result of a strategically systematic attack by would-be crime-lord Bane, an exhausted and broken Batman is replaced by another, darker champion. Set during the Knightfall publishing event, ‘The Ultimate Betrayal’ describes the moment Gordon realises his enigmatic ally has become a remorseless machine/exterminating angel hunting criminals with no regard to life anymore. If only third Robin Tim Drake could have told him that the man behind the cowl – and claws and razor-armour – is actually Azrael: hereditary and murderously programmed living weapon of an ancient Christian warrior-cult…

Rucka, Paul Pope & Claude St. Aubin bring the journey full circle in ‘Comrades in Arms’ wherein a mysterious stranger and his family hit Gotham on a mission to find Gordon and Batman, just as the Commissioner introduces his destined successor Michael Akins to the Major Crimes Unit. Word on the street is the Russian mob are planning a huge retaliatory strike and every cop is waiting for the hammer to fall when Hale Corbett walks back into GCPD HQ, demanding to see Gordon and the masked manhunter who changed his life many years ago…

Filtered through gritty modern sensibilities but still able to revere past glories and Batman’s softer sides, this thoroughly readable collection includes a cover gallery by artistic all-stars Javier Pulido, Ty Templeton, Joe Kubert, Howard Chaykin, Pope & Tim Sale, and offers a gripping thrill ride for newcomers and veterans alike.
© 2001, 2007 DC Comics. All Rights Reserved.

The Golden Age Sandman Archives volume 1


By Bert Christman, Gardner F. Fox, Creig Flessel, Chad Grothkopf, Ogden Whitney & various (DC Comics)
ISBN: 978-1-4012-0155-5 (HB)

Probably illustrated, scripted and created by multi-talented all-rounder Bert Christman (with the assistance of young scripting star Gardner F. Fox), The Sandman premiered in either Adventure Comics #40 July 1939 (two months after Batman’s debut in Detective Comics #27) or two weeks earlier in New York World’s Fair Comics 1939 – depending on whose distribution records you choose to believe. Intriguingly, the Dark Knight didn’t make the cut for the legendary commemorative comic book and only appeared in New York World’s Fair Comics #2 in Summer 1940…

Head obscured by a gas-mask and slouch hat; caped, business-suited millionaire adventurer Wesley Dodds was cut from the radio drama/pulp fiction mystery-man mould that had made The Shadow, Green Hornet, Lone Ranger, Phantom Detective, Black Bat, Spider, Avenger and so many more into household names of early mass-entertainment and periodical publication. Wielding a sleeping-gas gun and haunting the night to hunt a host of killers, crooks and spies, he was eventually joined and accompanied by plucky paramour Dian Belmont, before gradually losing readers’ interest and slipping from cover-spot to last feature in Adventure Comics, just as the shadowy, morally ambiguous avengers he emulated slipped from popularity in favour of more flamboyant, true-blue fictional fare.

This splendidly sturdy, moodily atmospheric Archive edition gathers those landmark early appearances from New York World’s Fair Comics 1939 & 1940 and the rip-roaring exploits from Adventure Comics #40-59, spanning July 1939 to February 1941: a period when Detective Comics Incorporated frantically sought to follow up Superman and Batman with the “Next Big Thing in comic books”…

Following an erudite appreciation from historian and comics all-star Jim Amash, the dramas begin with the fast-paced thriller from the groundbreaking, pioneering comics premium New York World’s Fair Comics #1 as Christman & Fox introduced ‘Sandman at the World’s Fair’. In those long-lost days, origins and back story were not as important as action and spectacle so we quickly plunge into a fast-paced yarn as wealthy, rugged playboy scientist Dodds visits the global festival with plans for a new ray-gun. En route he encounters spies and a traitor within his own company. Already active as The Sandman – and sought by the cops for it – the vigilante tracks down and deals with the pre-war enemies of America…

Over in Adventure Comics #40, at about the same time, the cover-featured crusader saves kidnapped actress Vivian Dale when ‘The Tarantula Strikes’ (Christman & Fox) in a rousing romp reminiscent of the High Society hi-jinks of movie marvels The Saint, Falcon or Lone Wolf: prowling allies and moonlit rooftops, breaking into criminals’ lairs, rifling safes and dealing as much death as dream gas. He also utilised a unique calling card, sprinkling sand to proclaim and terrify wherever he has silently been and gone…

Christman wrote and drew many of the early thrillers such as #41’s ‘On the Waterfront’, wherein plucky reporter Janice Blue inadvertently stumbles into a dockside narcotics ring just as murderous seadog Captain Wing makes a fateful takeover bid. Luckily for Janice, the stealthy Sandman is already on the case…

Adventure #42 highlighted Christman’s love of aviation in ‘The Three Sandmen’, as Dodds met up with former Navy Flying Corps buddies to solve a string of murders. Somebody was rubbing out all the members of the old squadron…

Allen Bert Christman first came to public attention by following near-mythic Noel Sickles on seminal newspaper strip Scorchy Smith. A dedicated patriot and flyer, Christman entered the Naval Air School in 1940 and joined Claire Lee Chennault’s 1st American Volunteer Group, known as the legendary fighter squadron The Flying Tigers. These volunteers began fighting the Japanese in China long before America officially entered WWII on December 8th 1941, and Christman – officially designated a Colonel in the Chinese Air Force – used his artistic talents to personalise and decorate many of the planes in his Flight. He was shot down and died in horrific circumstances on January 23rd 1942.

Issue #43 saw his last official story as Dodds went on a South Seas flying vacation and was embroiled in an ‘Island Uprising’: spectacularly saving embattled white pearl hunters from natives enraged to fury by latter-day pirate Red Hatch

In Adventure #44 (November 1939), Fox & Creig Flessel stepped into the breach left by Christman when ‘The Sandman Meets the Face’. Here the playboy was back in civilisation and aiding a down-&-out friend against a mercurial disguise artist and mob boss terrorising the city. This splendid blood-&-thunder caper also saw the page count rise from 6 to 10 as The Sandman finally found his lurking, moody metier…

‘The Golden Gusher’ (#45 by Fox & Flessel) was nightclub singer Gloria Gordon, threatened with kidnap or worse until the Master of Sleep intervened, whilst #46’s ‘The Sandman Meets with Murder’ saw rising talent Ogden Whitney step into the artistic hot seat when the slaying of another old Dodds chum led into a deliciously convoluted murder-mystery involving beautiful twins, counterfeiting and a macabre cross-dressing killer…

A huge step in continuity occurred in #47 as District Attorney Belmont agreed to an unofficial truce with The Sandman following the assassination of a prominent banker. Simultaneously, Wesley caught a wily thief trying to crack his safe and became unwilling partner to the ‘Lady in Evening Clothes’ (Fox & Whitney) after she uncovered his secret identity. A celebrated cat-burglar, the sophisticated she-devil was plagued by not knowing who her parents were, but happily went straight(ish) in return for Dodd’s pledge to help her…

Eventually revealed as long-lost Dian Belmont, she became a regular cast addition in #48 as ‘Death to the D.A.’ found her newly-found father under threat from gangsters and far less obvious killers on a palatial island retreat, after which ‘Common Cold – Uncommon Crime’ (#49 by Fox, Flessel & perhaps Chad Grothkopf on inks) sees the mystery-man tracking killers who were eradicating scientists who refused to hand over their cure for one of our most unforgiving ailments.

With a year gone by and global war looming, the “World of Tomorrow” exhibition was slowly closing, but there was still time for New York World’s Fair Comics #2, where this time ‘Sandman Goes to the World’s Fair’ (by Fox & Grothkopf) delivered a blistering crime caper as Wesley and Dian are stuck babysitting her maiden Aunt Agatha around the Fair and targeted by ambitious but exceedingly unwise kidnapper Slugger Slade

In Adventure Comics #50 ‘Tuffy and Limpy’s Revenge Plot’ – by Fox & Flessel – covered similar ground as a murderous campaign of apparently unrelated deaths points to another scheme to remove the dauntless DA, drawing Sandman and Dian into a blockbusting battle against ruthless rogues, whilst #51’s (June 1940, by Fox & Flessel and previously reprinted elsewhere as ‘The Pawn Broker’) ‘The Van Leew Emeralds’ provided a fascinating mystery romp for the romantically inclined crimebusters to solve in fine style and double-quick time.

A burglary at the Belmont residence only netted a pair of gloves in #52’s ‘Wanted! Dead or Alive’, but inexorably led to a perplexing scavenger hunt with sinister overtones and a deadly pay-off when scandalous Claudia Norgan framed her best gal-pal Dian for the Amber Apple Gang‘s crimes, after which in #53, ‘The Loan Sharks’ unwisely aroused the dynamic dream-maker’s ire after graduating from simple leg-breaking to murder to enforce their demands. They almost ended the Sandman too before he finally got the better of them…

Adventure #54’s ‘The Case of the Kidnapped Heiress’ saw Wes and Dian witness a bold snatch-&-grab, but their frenzied pursuit only resulted in both the DA’s daughter and millionairess Nana Martin being abducted together. Fury-filled and frantic, Sandman tracked down the ransoming rogues only to find himself in the unexpected role of Cupid.

When the legendary jewel ‘The Star of Singapore’ was stolen in #55, the trail led to an ever increasing spiral of death and destruction until the Man of Dreams finally recovered it, whilst next issue, ‘The Crook Who Knew the Sandman’s Identity’ (Fox, Flessel & Grothkopf) learned to his regret it just wasn’t so, thanks to Dian’s imaginative improvisation…

Mystery and general skulduggery gave way to world-threatening science fiction in #57 when The Sandman battled a mad scientist who had devised a deadly atom-smasher for blackmail and ‘To Hammer the Earth’, after which more macabre murders point the dream-team to spies and killers profiting from ‘Orchids of Doom’. This stylish selection of outré crime-thrillers concludes with Adventure #59’s ‘The Story of the Flaming Ruby’ as a cursed gem enables a hypnotic horror to turn honest men into thieves and Dian into a mindless assassin…

Possessing an indefinable style and charm but definitely dwindling pizzazz, the feature was on the verge of cancellation when The Sandman abruptly switched to a skin-tight yellow-&-purple bodysuit – complete with billowing cape for two issues – and gained boy-sidekick, Sandy the Golden Boy (in Adventure Comics #69, December 1941, courtesy of Mort Weisinger & Paul Norris), presumably to emulate the overwhelmingly successful Batman and Captain America models then reaping such big dividends. It didn’t help much at first but when Joe Simon & Jack Kirby came aboard with #72 it all spectacularly changed.

A semi-supernatural element and fascination with the world of dreams (revisited by S&K a decade later in their short-lived experimental suspense series The Strange World of Your Dreams) added a moody conceptual punch to equal the kinetic fury of their art, as Sandman and Sandy became literally the stuff of nightmares to the bizarre bandits and murderous mugs they stalked. Those spectacular but decidedly different adventures can be found in The Sandman by Joe Simon & Jack Kirby… if you dare…

With covers by Sheldon Mayer, Jack Burnley and Flessel, these raw, wild and excessively engaging early comics capers are some of the best but most neglected thrillers of the Golden Age. Modern tastes have moved on and these yarns are far more in tune with contemporary mores, making this a truly unmissable treat for fans of mystery, murder and stylish intrigue…
© 1939, 1940, 1941, 2004 DC Comics. All Rights Reserved.

Showcase Presents Metamorpho, The Element Man


By Bob Haney, Gardner Fox, Ramona Fradon, Joe Orlando, Sal Trapani, Jack Sparling, Charles Paris, Mike Sekowsky, Mike Esposito, Bernard Sachs & various (DC Comics)
ISBN: 978-1-4012-0762-5 (TPB)

By the time Metamorpho, The Element Man was introduced to a superhero-obsessed world the first vestiges of a certifiable boom were just becoming apparent. As such, the light-hearted, nigh-absurdist take struck a Right-Time, Right-Place chord, blending far out adventure with tongue-in-cheek comedy.

Celebrating 60 years of weird happenings, the bold, brash “Man of a Thousand Elements” debuted in The Brave and the Bold #57, cover-dated January 1965 and on sale from October 29th 1964 – just in time for Halloween. After a second try-out tale in the next issue, he and his crackers cast catapulted right into a solo title for an eclectic and oddly engaging 17-issue run. Sadly, this canny monochrome compendium – collecting those eccentric debut adventures from B&B #57 & 58, Metamorpho, The Element Man #1-17 and team-up tales from The Brave and the Bold #66 and 68 and Justice League of America #42 – is at present STILL the only archival collection available. Until someone rectifies that situation, at least here you can revel in some truly enchanting monochrome illustration and madcap myth-making. Unlike most Showcase editions, the team-up stories here are not chronologically re-presented in original publication order but are closeted together at the back, so if stringent continuity is important to you, the always informative old-school credit-pages will enable you to navigate the wonderment in the correct sequence.

Sans dreary preamble, the action commences immediately with ‘The Origin of Metamorpho’, written by Bob Haney (who created the concept and character and wrote everything here except the Justice League story). The captivating art is by Ramona Fradon & Charles Paris and introduces glamorous he-man Soldier of Fortune Rex Mason: currently working as a globetrotting artefact-procurer and agent for ruthlessly acquisitive scientific genius and business tycoon Simon Stagg. Mason is obnoxious and insolent but his biggest fault as far as the boss is concerned is that the mercenary dares to love – and be loved – by the plutocrat’s only daughter Sapphire

Determined to rid himself of the impudent “fortune-hunter”, Stagg sends his potential son-in-law to Egypt tasked with retrieving a fantastic artefact dubbed the Orb of Ra from the lost pyramid of Ahk-Ton. The tomb raider is accompanied only by Java, a previously fossilised Neanderthal corpse Rex had extracted from a swamp and which (whom?) Stagg had subsequently restored to life. Mason plans to take his final fabulous fee and whisk Sapphire away from her controlling father forever, but fate and his companion have other plans…

Utterly faithful to the scientific wizard who was his saviour, Java sabotages the mission and leaves Mason to die in the tomb, victim of an ancient, glowing meteor. The man-brute rushes back to his master, carrying the Orb and fully expecting Stagg to honour his promise and give him Sapphire in marriage. Meanwhile, trapped and painfully aware his time has come, Mason swallows a suicide pill as the scorching rays of the star-stone burn through him…

Instead of death relieving his torment, Rex mutates into a ghastly chemical freak capable of shapeshifting and transforming into any of the elements or compounds that comprise his human body: carbon, hydrogen, oxygen, calcium, iron, cobalt and so many others…

Hungry for vengeance, Mason returns and confronts his betrayers only to be overcome by the alien energies of the Orb of Ra. An uneasy détente is declared as Mason accepts Stagg’s desperate offer to cure him – if possible…

The senior Stagg is further horrified when Rex reveals his condition to Sapphire and finds she still loves him. Totally unaware of his employer’s depths of duplicity, Mason starts working for the tycoon as metahuman problem-solver Metamorpho, the Element Man.

Brave and the Bold #58 (February-March 1965) reveals more of Stagg’s closeted skeletons when old partner Maxwell Tremayne kidnaps the Element Man and later abducts Sapphire to ‘The Junkyard of Doom!’ Apparently, the deranged armaments manufacturer was once intimately acquainted with the girl’s mother and never quite got over it…

The test comics were an unqualified success and Metamorpho promptly started in his own title, cover-dated July-August 1965, just as the wildly tongue-in-cheek “High Camp” craze was catching on in all areas of popular culture: mixing ironic vaudevillian kitsch with ancient movie premises as theatrical mad scientists and scurrilous spies began appearing everywhere.

‘Attack of the Atomic Avenger’ sees nuclear nut-job Kurt Vornak seeking to crush Stagg Industries, only to be turned into a deadly, planet-busting radioactive super-atom, after which ‘Terror from the Telstar’ pits our charismatic characters against Nicholas Balkan, a ruthless criminal boss set on sabotaging America’s Space Program. Manic multi-millionaire T.T. Trumbull uses his own daughter Zelda to get to Simon Stagg through his heart, accidentally proving to all who know him that the old goat actually has one. This was part of TT’s attempt to seize control of America in ‘Who Stole the U.S.A.?’, with the ambitious would-be despot backing up the scheme with an incredible robot specifically designed to murder Metamorpho.

Happily, Rex Mason’s guts and ingenuity prove more effective than the Element Man’s astonishing powers…

America saved, the dysfunctional family head South of the Border, becoming embroiled in ‘The Awesome Escapades of the Abominable Playboy’ as Stagg schemes to marry Sapphire off to Latino Lothario Cha Cha Chavez. The spoiled wilful girl is simply trying to make Mason jealous and had no idea of her dad’s true plans; Stagg senior has no conception of Chavez’s real intentions or connections to the local tin-pot dictator…

With this issue the gloriously stylish innovator Ramona Fradon left the series, to be replaced by two artists who strove to emulate her unique, gently madcap manner of drawing with varying degrees of success. Luckily, veteran inker Charles Paris stayed on to smooth out the rough edges. First was E.C. veteran Joe Orlando whose 2-issue tenure began with outrageous doppelganger drama ‘Will the Real Metamorpho Please Stand Up?’ wherein eccentric architect Edifice K. Bulwark tries to convince Mason to lend his abilities to his chemical skyscraper project. When Metamorpho declines, Bulwark and Stagg attempt to create their own Element Man with predictably disastrous consequences. ‘Never Bet Against an Element Man!’ (#6 May-June 1966) took the team to the French Riviera as gambling grandee Achille Le Heele snookers Stagg and wins “ownership” of Metamorpho. The Gallic toad’s ultimate goal was stealing the world’s seven greatest wonders (including the Taj Mahal and Eiffel Tower) and, somehow, only the Element Man can make that happen…

Sal Trapani began drawing with #7’s ‘Terror from Fahrenheit 5,000!’ as the acronymic superspy fad hit hard. Here Metamorpho is enlisted by the C.I.A. to stop suicidal maniac Otto Von Stuttgart destroying the entire planet by dropping a nuke into the Earth’s core, before costumed villain Doc Dread is countered by an undercover Metamorpho becoming ‘Element Man, Public Enemy!’ in a diabolical caper of doom and double-cross. Metamorpho #9 shifted into classic fantasy when suave and sinister despot El Mantanzas maroons the cast in ‘The Valley That Time Forgot!’: battling cavemen and antediluvian alien automatons, after which a new catalysing element is added in ‘The Sinister Snares of Stingaree!’ This yarn introduces Urania Blackwell – a secret agent somehow transformed into an Element Girl and sharing all Metamorpho’s incredible abilities. Not only is she dedicated to eradicating evil such as criminal cabal Cyclops, but Urania is also the perfect paramour for Rex Mason, who even cancels his wedding to Sapphire to go gang-busting with her…

With a new frisson of sexual chemistry sizzling barely beneath the surface, ‘They Came from Beyond?’ finds a conflicted Element Man confronting an apparent alien invasion whilst ‘The Trap of the Test-Tube Terrors!’ sees another attempt to cure Rex of his unwanted powers. This allows mad scientist Franz Zorb access to Stagg Industry labs long enough to build an army of chemical horrors. The plot thickens with Zorb’s theft of a Nucleonic Moleculizer, prompting a continuation in #14 wherein Urania is abducted only to triumphantly experience ‘The Return from Limbo’

Events and stories grew increasingly outlandish and outrageous as TV’s superhero craze intensified and ‘Enter the Thunderer!’ (#14, September/October 1967) depicted Rex pulled between Sapphire and Urania whilst marauding extraterrestrial Neutrog terrorises Earth in preparation for the arrival of his mighty mutant master. The next instalment augured an ‘Hour of Armageddon!’ as the uniquely menacing Thunderer takes control of Earth until boy genius Billy Barton aids the Elemental defenders in defeating the alien horrors.

Trapani inked himself for Metamorpho #16: an homage to H. Rider Haggard’s She novels (and 1965 movie blockbuster) wherein ‘Jezeba, Queen of Fury!’ changes the Element Man’s life forever. When Sapphire marries playboy Wally Bannister, the heartbroken Element Man undertakes a mission to find the lost city of Ma-Phoor and encounters an undying beauty who wants to conquer the world… and just happens to be Sapphire’s exact double. Moreover, the immortal empress of a lost civilisation once loved an Element Man of her own: a Roman soldier named Algon who became a chemical warrior two thousand years previously.

Believing herself reunited with her lost love, Jezeba finally launches her long-delayed attack on the outside world with disastrous, tragic consequences…

The oddly appetising series came to a shuddering unsatisfactory halt with the next issue as the superhero bubble burst and costumed comic characters suffered their second recession in 15 years. Metamorpho was one of the first casualties, cancelled just as (or perhaps because) the series was emerging from its quirky comedic shell with the March/April 1968 issue.

Illustrated by Jack Sparling, ‘Last Mile for an Element Man!’ sees Mason tried – and executed! – for the murder of Bannister, resurrected by Urania Blackwell and set on the trail of true killer Algon. Consequently, Mason and Element Girl uncover a vast conspiracy and rededicate themselves to defending humanity at all costs. The tale ends on a never-resolved cliffhanger: when Metamorpho was revived a few years later no mention was ever made of these last game-changing issues…

Our elemental entertainment doesn’t end here though, as this tome somewhat expiates the frustrating denouement with three terrific team-up tales, beginning with The Brave and the Bold #66 (June/July 1966) and ‘Wreck the Renegade Robots’ wherein a mad scientist usurps control of the Metal Men just as their creator Will Magnus is preoccupied with a cure turning Metamorpho back into an ordinary mortal…

Two issues later (B& B #68 October/November 1966), the still chemically active crimebuster battles popular TV Bat-Baddies The Penguin, Joker and Riddler as well as a fearsomely mutated Caped Crusader in thoroughly bizarre tale ‘Alias the Bat-Hulk!’ with both yarns courtesy of Haney, Mike Sekowsky & Mike Esposito. Sekowsky also drew the final exploit in this volume as Justice League of America #42 (February 1966) sees the hero joyfully join the World’s Greatest Superheroes to defeat cosmic menace The Unimaginable. The grateful champions instantly offer him membership but are astounded when – and why – ‘Metamorpho Says… No!’: a classic romp written by Gardner Fox and inked by Bernard Sachs.

The wonderment concludes with a sterling pin-up of Element Man and core cast by Fradon & Paris. Individually enticing, always exciting but oddly frustrating in total, this book will delight readers who aren’t too wedded to cloying continuity but simply seek a few moments of casual, fantastic escapism.
© 1965-1967, 2005 DC Comics. All Rights Reserved.

Batman and Superman in World’s Finest Comics: The Silver Age volume 1


By Edmond Hamilton, Bill Finger, Jerry Coleman, Curt Swan, Dick Sprang, Stan Kaye, Sheldon Moldoff, Charles Paris, Ray Burnley & various (DC Comics)
ISBN: 978-1-4012-7780-2 (TPB/Digital edition)

This year marks Batman’s 85th Anniversary and we’ll be covering many old and new books about the Dark Knight over the year. However, the Gotham Guardian’s impact has been far ranging and sustained, so let’s also take a look at his part in reshaping Superman and other heroes too…

Some things were just meant to be: bacon & eggs, rhubarb & custard, chalk & cheese…

Both initially debuting as driven loners, after settling into their respective pioneering superhero niches, Superman and Batman ultimately worked together as the “World’s Finest” team for decades. They were friends as well as colleagues and their pairing made sound financial sense since DC’s top heroes (in effect, the company’s only costumed stars) could cross-pollinate and, more importantly, cross-sell their combined readerships.

This most inevitable of Paladin Pairings first occurred on the Superman radio show in 1945, and in comics the pair only briefly met whilst on a Justice Society of America adventure in All-Star Comics #36 (August/September 1947) – and even there they missed each other in the general gaudy hubbub…

Of course, they had shared the covers of World’s Finest Comics from the outset, but never crossed paths inside; sticking firmly to their specified solo adventures. For us pictorial continuity buffs, the climactic real first time was in the pages of Superman’s own bi-monthly comic (issue #76, May/June 1952), but the real birth of their partnership came in World’s Finest Comics #71 cover-dated July/August 1954 and making 2024 their official 70th Anniversary. (Yay, Teams!)

In 1952, pulp science fiction author Edmond Hamilton had been tasked with revealing how Man of Steel and Caped Crusader first met and accidentally uncovered each other’s costumed identities – whilst sharing a cabin on an overbooked cruise liner. Although an average crime-stopper yarn, it was the start of a phenomenon. Of course you’ll need to revisit the previous volume for that and other early team up tales…

With dwindling page counts, rising costs but a proven readership and after years of co-starring but never mingling, World’s Finest Comics #71 had presented Superman and Batman in the first of their official shared cases. A huge hit, the innovative partnership was one of the few superhero success stories of the 1950s and this second stunning compendium of Silver Age solid gold spans July/August 1958 to March 1961: re-presenting the lead stories from World’s Finest Comics #95-116. The astounding archive of adventure opens with a Hamilton, Dick Sprang & Ray Burnley yarn pitting the temporarily equally multi-powered and alien-entranced champions against each other in ‘The Battle of the Super-Heroes’.

A magical succession of magnificent and light-heartedly whacky classics began in WFC #96 with Hamilton’s ‘The Super-Foes from Planet X’, wherein indolent and effete aliens dispatch fantastic monsters to battle the titanic trio for the best possible reasons…

Bill Finger took over scripting with #97, incomprehensibly turning the Man of Steel on his greatest friends in ‘The Day Superman Betrayed Batman’, after which ‘The Menace of the Moonman!’ pits the heroes against a deranged hyper-powered astronaut. Then, ‘Batman’s Super-Spending Spree!’ baffles his close friends before Lex Luthor devilishly traps Superman in the newly-recovered “Bottle City of Kandor” to become ‘The Dictator of Krypton City’ – all breathtaking epics beautifully limned by Sprang & Kaye.

Sprang inked himself in rocket-paced super-crime thriller ‘The Menace of the Atom-Master’ whereas it took Curt Swan, Burnley, Sprang & Sheldon Moldoff to properly unveil the titanic tragedy of ‘The Caveman from Krypton’ in #102. Sprang & Moldoff then unveiled ‘The Secret of the Sorcerer’s Treasure’, depicting a couple of treasure hunters driven mad by the tempting power of freshly unearthed magical artefacts, after which Luthor came to regret using a hostage Batwoman to facilitate ‘The Plot to Destroy Superman!’

After a metamorphosis which turned Clark Kent into ‘The Alien Superman’ proved not at all what it seemed to be, ‘The Duplicate Man’ in WF #106 sees the ultimate downfall of a villain who develops an almost unbeatable crime tool. He’s followed by ‘The Secret of the Time-Creature’ who encompassed centuries and resulted in one of Finger’s very best detective thrillers to baffle but never stump the Cape & Cowl Crusaders…

Jerry Coleman assumed the writer’s role with ‘The Star Creatures’ (art by Sprang & Stan Kaye); the tale of an extraterrestrial moviemaker whose deadly props were stolen by Earth crooks. Stellar cover artist Curt Swan (with Stan Kaye inking) finally made the move to interior illustrator for ‘The Bewitched Batman’, detailing a tense race against time to save the Gotham Guardian from an ancient curse, before ‘The Alien who Doomed Robin’ (Sprang & Moldoff) sees a symbiotic link between monster marauder and Boy Wonder leave the senior heroes apparently helpless – at least for a little while…

Finger, Sprang & Moldoff toured ‘Superman’s Secret Kingdom’ (#111, August 1960) in a compelling lost world yarn wherein a cataclysmic holocaust deprives the Man of Steel of his memory, necessitating Batman and Robin seeking to cure him at all costs…

The next issue – by Coleman, Sprang & Moldoff – delivered a unique and tragic warning in ‘The Menace of Superman’s Pet’ as a phenomenally cute teddy bear from space proves to be an unbelievably dangerous menace and unforgettable true friend. Bring tissues, you big babies…

In an era when disturbing or terrifying menaces were frowned upon, many tales featured intellectual dilemmas and unavoidably irritating pests to torment our heroes. Both Gotham Guardian and Man of Steel had their own magical 5th dimensional gadflies and it was therefore only a matter of time until ‘Bat-Mite Meets Mr. Mxyzptlk’: a madcap duel to determine whose hero was best with America caught in the metamorphic middle.

WF #114 saw Superman, Batman & Robin shanghaied to distant world Zoron with their abilities are reversed as ‘Captives of the Space Globes’. Nevertheless, justice is still served in the end, after which ‘The Curse that Doomed Superman’ sees the Action Ace consistently outfoxed by a scurrilous Swami with the Darknight Detective helpless to assist him…

Swan & Kaye return for #116’s thrilling monster mash ‘The Creature from Beyond’ to wrap up this volume with a criminal alien out-powering Superman whilst concealing an incredible secret…

Here are gloriously clever yet uncomplicated tales whose dazzling style still inform if not dictate the manner of DC’s modern TV animations – like the fabulous Batman: The Brave and the Bold – and the contents of this titanic tome are a veritable feast of witty, charming thrillers packing as much punch and wonder now as they always have.
© 1958, 1959, 1960, 1961 2018 DC Comics. All Rights Reserved.

Showcase Presents: The Teen Titans volume 1


By Bob Haney, Len Wein, Marv Wolfman, Bruno Premiani, Nick Cardy, Irv Novick, Bill Molno, Lee Elias, Bill Draut, Jack Abel, Sal Trapani & various (DC Comics)
ISBN: 978-1-84576-677-1 (TPB)

The concept of kid hero teams was not a new one when DC finally opted to entrust their big heroes’ assorted sidekicks with their own comic. The result was a fab, hip and groovy ensemble as dedicated to helping kids as it was to stamping out insidious evil; ready to capitalise on the growing independence of modern kids.

The greatest difference between underage wartime groups like The Young Allies, Newsboy Legion and Boy Commandos or 1950s holdovers like The Little Wise Guys and Boy Explorers and the birth of the Teen Titans was quite simply a burgeoning social phenomenon popularly dubbed “Teenagers”: a whole new thing regarded as a discrete cultural and commercial force. These were kids who could – and should – be permitted to do things themselves free from constant adult “help” or supervision. This quirkily eclectic compilation re-presents landmark try-out appearances from The Brave and the Bold #54 and 60 and Showcase #59 – collectively debuting in 1964 and1965 – plus the first 18 issues of a Teen Titans solo title, running January/February 1966 to November/December 1968.

As early as the June/July 1964 cover-dated issue of The Brave and the Bold (#54), DC’s Powers-That-Be tested choppy unknown waters in a gripping tale by writer Bob Haney superbly illustrated by unsung genius Bruno Premiani. At that juncture B&B was exploring a succession of superhero combinations and ‘The Thousand-and-One Dooms of Mr. Twister’ united Kid Flash, Aqualad and Robin the Boy Wonder in a bizarre battle against a modern wizard/Pied Piper who had stolen the teens of provincial Hatton Corners. The young heroes had met in the town by chance when students there invited them to mediate a long-running dispute with the adults in charge. Hey Kids! Happy 60th Anniversary!

This element of a teen “court-of-appeal” was the motivating factor in many of the later group’s cases. One year later the lads met again for a second adventure (The Brave and the Bold #60, by the same creative team) but introduced two new elements.

‘The Astounding Separated Man’ featured more misunderstood kids – this time in coastal hamlet Midville – threatened by an outlandish monster whose giant body parts could move independently. They added Wonder Girl (not actually a sidekick, or even a person, at that time but rather a magical/digital artificial avatar of Wonder Woman as a child, but a fact writers and editors seemed blissfully unaware of) and finally earned a name: Teen Titans.

Their final test appearance came in Showcase (issue #59, cover-dated November/December 1965): birthplace of so many hit comic concepts. It was the first drawn by the brilliant Nick Cardy – who became synonymous with the 1960s series. ‘The Return of the Teen Titans’ pitted them against teen pop trio The Flips who were apparently also a gang of super-crooks… but as was so often the case, the grown-ups had got it all wrong…

One month later their own comic launched. Dated January/February 1966, TT #1 was released mere weeks before the first Batman TV show aired on January 12th. Robin was point of focus on the cover – and most succeeding ones – as Haney & Cardy produced exotic thriller ‘The Beast-God of Xochatan!’ with the youngsters acting as Peace Corps representatives in a South America-set drama of sabotage, giant robots and magical monsters.

The next issue held a fantastic mystery of revenge and young love involving ‘The Million-Year-Old Teen-Ager’ who was entombed and revived in the 20th century. He might have survived modern intolerance, bullying and culture shock on his own, but when his ancient blood enemy turned up, the Titans were ready to lend a hand…

TT #3’s ‘The Revolt at Harrison High’ capitalised on the craze for drag-racing in a tale of crazy criminality. Produced during a historically iconic era, many readers now can’t help but cringe when reminded of such daft dastardly foes as Ding-Dong Daddy and his evil bikers, and of course the hip, trendy dialogue (it wasn’t that accurate then, let alone now) is pitifully dated, but the plot is strong and the art magnificent.

‘The Secret Olympic Heroes’ guest-starred Green Arrow’s teen partner Speedy in a very human tale of parental pressure at the peak end of sporting endeavour, although there’s also skulduggery aplenty from a terrorist organisation intent on disrupting the games. In #5’s ‘The Perilous Capers of the Terrible Teen’ the Titans faced dual tasks: helping a troubled young man and capturing a super-villain called The Ant, despite all evidence indicating that they were the same person, before another DC sidekick made his Titans debut in ‘The Fifth Titan’. Here obnoxious juvenile know-it-all Beast Boy from the Doom Patrol falls under the spell of a wicked circus owner and the kids must set things right. Painfully illustrated by Bill Molno & Sal Trapani, it’s the absolute low-point of a stylish run.

Many fans would disagree, however, citing #7’s ‘The Mad Mod, Merchant of Menace’ as the biggest stinker, but beneath painfully dated dialogue there’s a witty, tongue-in-cheek tale of swinging London and novel criminality, plus the return of the magnificent Nick Cardy to the art chores. It was back to America for ‘A Killer called Honey Bun’ (illustrated by Irv Novick & Jack Abel): another tale of adult intolerance and misunderstood youth, set against a backdrop of espionage in Middle America featuring a deadly prototype robotic super-weapon in the title role, whereas #9’s ‘Big Beach Rumble’ saw the Titans refereeing a vendetta between rival colleges before modern day pirates crashed the scene. Novick pencilled and Cardy’s inking made it all very palatable.

The editor obviously agreed as the artists remained for the next few issues. ‘Scramble at Wildcat’ was a crime caper featuring dirt-bikes and desert ghost-towns with skeevy biker The Scorcher profiting from a pernicious robbery spree whilst Speedy returned in #11’s spy-thriller ‘Monster Bait’ with the young heroes undercover to save a boy being blackmailed into betraying his father and his country. Twin hot-topics the Space-Race and Disc Jockeys informed whacky sci fi thriller ‘Large Trouble in Space-ville!’ with #13 a true classic as Haney & Cardy produced a seasonal comics masterpiece ‘The TT’s Swingin’ Christmas Carol!’: a stylish retelling that has become one of the most reprinted Titans tales ever. At this time Cardy’s art opened up as he grasped the experimental flavour of the times. The cover of TT #14, as well as the interior illustration for grim psycho-thriller ‘Requiem for a Titan’ are unforgettable. The case introduced the team’s first serious returning villain (Mad Mod does not count!): The Gargoyle is mesmerising and memorable. Although Cardy only inked Lee Elias’s pencils for #15’s eccentric tryst with Hippie counter-culture, ‘Captain Rumble Blasts the Scene!’ is a genuinely compelling crime thriller from a time when nobody over age 25 understood what the youth of the world was doing…

Teen Titans #16 returned to more fanciful ground in ‘The Dimensional Caper!’ when aliens infiltrate a rural high school (and how many times has that plot resurfaced since this 1968 epic?). Cardy’s art reached dizzying heights of innovation both here and in the next issue’s waggish jaunt to London in ‘Holy Thimbles, It’s the Mad Mod!’: a cunning criminal chase through Cool Britannia including a command performance from Her Majesty, the Queen!

This initial volume ends with a little landmark as novice writers Len Wein & Marv Wolfman got their big break introducing Russian superhero Starfire and setting themselves firmly on a path of teen super-team writing. ‘Eye of the Beholder’ is a cool cat burglar caper set in trendy Stockholm, drawn with superb understatement by Bill Draut, acting as the perfect indicator of changes in style and attitude that would infuse the Titans and the comics industry itself.

Although perhaps dated in delivery, these tales were a liberating experience for kids when first released. They betokened fresh empathy with independent youth and tried to address problems more relevant to and generated by that specific audience. That they are captivating in execution is a wonderful bonus. This is absolute escapism and absolutely delightful.
© 1964-1968, 2006 DC Comics. All Rights Reserved.